Deaf Czech composer. Bedrich Smetana - founder of the national Czech opera

(1824-1884) Czech composer

One of the brilliant pages of the history of music of the last century is connected with the name of Bedrich Smetana. You can often find statements: “Sour cream is the father of new Czech music”, “Sour cream is Czech Glinka”. However, the significance of this man is exceptionally great not only for the Czech Republic - his music was a precious contribution to the treasury of world classics, won recognition in all countries.

Bedrich Smetana was born in the ancient town of Litomysl, located in a picturesque area in the southeast of the Czech Republic. Brewer Frantisek Smetana moved here at the beginning of 1824 with his wife Barbara, née Linkova. He entered the service of Count Waldstein and settled in a house located on a hill opposite the old castle. Nearby was a temple whose towers towered high above the city.

Frantisek Smetana was a simple and straightforward man, passionately loved his homeland and passionately dreamed of the time when she would be freed from Austrian oppression. Known as a Jacobin for his beliefs, he raised his son in the spirit of freedom-loving, democratic ideas.

In 1836-1839, Bedrich studied at the gymnasium, where he was influenced by teachers who instilled in young people love and respect for the Czech language. national culture. Music entered the life of the future composer from childhood. In his native town, in other cities, villages and villages where he happened to spend the summer, he could often hear singing and playing various folk instruments, without which it is impossible to imagine Czech folk life. His father was a passionate music lover and played the violin well. During leisure hours, friends gathered at his place, one of whom also played the violin, the other - the viola, the third - the cello. The boy listened with great interest to the play of the home quartet.

When Bedrich was four years old, his father began to teach him to play the violin and piano. A year later, the boy could already play the violin part in one of Haydn's quartets. He also made great strides in playing the piano: already in 1830, Bedrich made his first public appearance. The boy's composing talent was also discovered early: at the age of eight, he began to compose small plays.

In the gymnasium years, the talent of Bedřich Smetana already attracted everyone's attention. In the circle of acquaintances, the young man became famous as a pianist who brilliantly performed the works of Chopin, Liszt and other composers. His Poles enjoyed great success among the youth.

The wonderful talent of Smetana grew and developed quite independently. He lived in the provinces and did not have the opportunity to systematically study with experienced professional musicians; she did not appear even when he was on a short time came to Prague at the end of 1839 - the first half of 1840.

Bedrich Smetana spent long hours at the piano, studying the works of the great masters: Mozart, Beethoven and Chopin, whom he especially loved. Somewhat later, the young musician became acquainted with the art of Berlioz and Liszt, which made an indelible impression on him.

In 1843, Bedrich graduated from the Pilsen Gymnasium. By this time, he finally decided to devote himself to music. His ideal is to become "Liszt in technique and Mozart in composition". Entering the artistic path, the young man could only rely on his own strength: by that time, the financial situation of the family had deteriorated sharply and his parents could not provide him with significant assistance.

The meager means that he had quickly dried up, and Smetana began to experience a real need. The young man's distress continued until the director of the Prague Conservatory recommended him as a music teacher to the family of Count Thun. Bedřich Smetana proved to be a very patient teacher, although his work was not easy, as four of the count's five children had no musical talent. The lessons lasted five hours a day, but Smetana got the opportunity to improve himself in his favorite art. When the Thun family was in Prague, he could use his free time to communicate with musicians, and during the holidays, accompanying students on trips around the country, he significantly expanded his acquaintance with Czech life and art.

In Prague, Bedrich Smetana takes lessons from one of the most famous Czech teachers of that time, I. Proksh. He immediately appreciated the talent of the young man and willingly worked with him. The years of studying with Proksch gave the young musician a lot: after all, despite his great successes, he did not have any systematic theoretical training. Under the guidance of Proksh, Smetana acquired professional skills and mature years often remembered his teacher with gratitude. In 1846, Bedřich Smetana attended the concerts of Berlioz and Liszt and at the same time became acquainted with these great musicians. Between him and Franz Liszt, a warm friendship subsequently arose, which continued until the death of the Czech composer.

In 1847, Bedrich Smetana left the house of Count Thun. He felt ripe for independent creative work, but his financial situation remained difficult, small odd jobs did not last long. In addition, he did not have a piano and was forced to study with friends. However, the young composer did not lose courage, made various plans, and finally obtained permission to open a music school in Prague. True, he did not have any means for this, and Smetana turned to Liszt for help, who answered him with a cordial letter and helped with the publication of Six Characteristic Plays. Soon they were printed in Leipzig. This inspired the composer, and he continued to compose small piano pieces. In 1849, his "Wedding Scenes" appeared, written in a "purely Czech style."

The outstanding creative achievement of Smetana was "Three salon polkas" and "Three poetic polkas". Shortly before that, he wrote the Triumphal Symphony, the only work of this genre in his entire creative legacy.

In 1849, Bedřich Smetana married the gifted musician Kateryna. Their marriage turned out to be happy.

His wife helped him in everything and supported his creative aspirations. The young couple lived very modestly, but their house was open to friends, who were welcomed here affably and cordially. Franz Liszt also visited them in 1856.

In the family circle, Bedrich Smetana forgot about life's hardships, of which there were many. At that time, the Czech Republic was still under the rule of the Austrians, who controlled all areas artistic life. In this oppressive environment, Smetana could not find an application for his abilities, did not have the opportunity to financially provide for his family. In the end, he decided to leave his homeland and go to Sweden in search of work. So in 1856, Smetana went to seek happiness and recognition abroad.

He lived abroad for five years. The composer settled in the Swedish city of Gothenburg, hoping to get a teaching job here. These hopes were justified: after he gave two concerts in Gothenburg, there was no shortage of lessons. The Czech musician was warmly welcomed, he quickly made many friends and acquaintances here. I corresponded with some of them even after leaving Gothenburg.

Bedřich Smetana was also actively engaged in conducting activities, systematically performed as a pianist. He quickly won universal respect and recognition in Gothenburg as the city's first musician. But his heart was at home. Smetana constantly read Czech newspapers and was aware of all the events that took place in his country.

In Gothenburg he wrote three major works. These are the symphonic poems Richard III (1858), Wallenstein's Camp (1859) and Earl Gakon (1861). In 1857 and 1859 the composer visited Liszt in Weimar. Smetana's life in Sweden proceeded quite well. He was recognized, financially secure, he had many friends, he had the opportunity to be creative. But at the same time, he had to endure many sad days and weeks in a foreign land, overshadowed by longing for his homeland and personal misfortunes. Before leaving for Sweden, the composer's first daughter died. Three years later, he was struck by a new terrible blow: his beloved wife Katerzhina felt bad in a foreign country, her health worsened every year, and at the beginning of 1859 began to inspire the most serious fears. Smetana thought that in Prague, among her relatives, she would feel better. He went with her on the road, but on the way she died in Dresden. The composer arrived in Prague together with his daughter and spent the summer months in the family of his brother Karl. Then one returned to the deserted Gothenburg apartment, leaving his daughter in the care of her grandmother.

In 1860, Bedrich Smetana remarried, to Bettina Ferdinandova, the sister of his brother's wife. In the spring of 1861, he finally returned to his homeland, settled in Prague and took an active part in the development of Czech national culture. At that time he was thirty-seven years old, he was in the full bloom of his powers and abilities. The past years have enriched his life and creative experience, his composing and performing talent has grown and strengthened. For eight years, Smetana worked at the Provisional Theatre. The premieres of his operas The Brandenburgers in the Czech Republic, The Bartered Bride, The Two Widows and The Kiss took place here. Dalibor and Libuse should be added to these operas. And The Bartered Bride became the first Czech opera to receive worldwide recognition.

In the life of some people there are years that immediately and irrevocably change its course. 1874 became such a frontier for Smetana. He brought the composer both creative joys and sufferings that followed him until the end of his life. Misfortune fell upon him - sudden deafness. The monstrous blow shook the composer, everything changed in his life, he himself became different, only his talent and inspiration remained the same.

On March 27, 1874, the premiere of his opera The Two Widows took place on the stage of the Provisional Theater, which was very successful. At the time of complete deafness, the composer composed the opera The Kiss. He creates the symphonic cycle "My Motherland" - a unique phenomenon of musical art.

The health of Bedřich Smetana continually aroused the concern of doctors. For some time he was forced to stay in a Prague psychiatric hospital. The strength of the composer melted every day. He himself understood this, but stubbornly resisted the disease, tried to work, since work was the only goal and support of his whole life. These days, when Smetana's health no longer gave any hope for a better outcome, he had a chance to experience joy. On November 18, 1883, he attended the opening of the building of the National Theater rebuilt after a fire. In a crowded hall, his opera "Libuse" again sounded, which was a huge success. The composer was repeatedly called, and he again felt the love and recognition of the Prague public. But this was his last celebration - last time he was present at the theatre, saw beautiful Prague for the last time in full consciousness, and talked with his friends.

When the sixtieth anniversary of his birth was celebrated at the beginning of 1884, he was already so ill that he could not even think about traveling to the city.

Every day Bedrich Smetana felt worse and worse. He was tormented by headaches, he suffered severely from the noise that did not stop for a minute in his head and ears. Then hallucinations were added to all this. The composer gradually lost his memory, sometimes did not recognize his acquaintances, and, which was especially painful for him, began to feel the incoherence of his thinking. At the end of January 1884, he finally lost consciousness, he was soon transferred to Prague and placed in a hospital for the mentally ill, where he died in May of the same year.

The death of Bedrich Smetana was perceived by the Czech people as a grave loss. His funeral attracted a huge number of people, among whom were not only Praguers, but also visitors from other cities. The funeral procession passed through the city to Vysehrad, where the great Czech composer found eternal rest. But the life of his music was just beginning, and the future brought him true immortality.

A composer who entered the fight against deafness, who continued to create in spite of his illness...? Yes, but such is the fate of Bedřich Smetana... The encounter with illness is just one of those dramatic situations that marked the path of this composer, who laid the foundations of the Czech school of composition. “I tasted the bitterness of life to the fullest ... but I also experienced wonderful, magical, and majestic moments,” Smetana himself said about his life.

Bedrich Smetana was born in the Czech Republic ... Alas, rather, in the Austrian Empire, of which the Czech Republic was at that time. For almost two hundred years, the Czechs were subjected to forcible Germanization - on Czech no books were published, there was no teaching in schools, and it was even forbidden to speak it. However, in the house of Frantisek Smetana, the brewer of the Litomyšl Castle, this prohibition was not observed, but here they followed the old tradition of the Czechs, which is a passion for music. The father of the future composer played the violin, and the musical atmosphere contributed to the early manifestation of Bedřich's abilities: the boy began to play the violin and piano at the age of five, a year later he already performed, and at school years already composed music. Despite such a clear talent, the father wanted to see his son as an economist. Bedrich went to Prague, where he entered the academic gymnasium.

But more than the lessons, the young man was fascinated by concerts and playing music with friends. important event in life young musician was the arrival of Franz Liszt with concerts in Prague. Shocked by his performance, Smetana decides to leave the gymnasium and devote himself entirely to music.

In 1843, Bedrich managed to get a job as a home music teacher for the children of Count Thun, and this saves him from material problems, moreover, in the salon of this passionate music lover, they gather interesting people- public figures, musicians, here Smetana met with his wife when they visited Prague. But the young musician yearns for activity, he undertakes a concert tour of the cities of the Czech Republic - but the music of romantic composers does not resonate with the public. Being in a desperate situation, he wrote to Franz Liszt, attaching to the letter "Six Characteristic Pieces", which were dedicated to him. The illustrious virtuoso pianist and composer received many such messages, but Smetana's pieces attracted attention, and through the efforts of Liszt they were published in Prague.

The suppression of the uprising that broke out in Prague in 1848 was a heavy blow for Smetana: many of his friends were arrested and exiled. Whether Smetana himself took a direct part in the revolutionary events is not known for sure - but he definitely took part in them as a composer, creating the Song of Freedom. In subsequent years, Smetana paid much attention to the creation of polka, poetizing this genre of Czech musical folklore.

1855-1856 became difficult for the composer. Like many other compatriots, he had high hopes for the marriage of the emperor with Princess Elizabeth, who was credited with democratic aspirations, and on the eve of this event, he wrote his first and only symphony - "Triumphal". Having sent it to Vienna, he received no response, but the premiere of the symphony in Prague was his debut as a conductor. Subsequently, the composer, convinced of the falsity of his hopes, forbade it to be performed. During these years, three daughters of the composer and his friend Karel Havlicek, who returned from exile, died one after another. The only joyful event is a meeting with a visitor to Prague.

The political situation forced the composer to leave the Czech Republic for some time, and in 1856-1861. He lives in Gothenburg. At this time, he creates symphonic poems based on the works of Friedrich Schiller and William Shakespeare, gives concerts as a pianist and conductor. Returning to his homeland, the composer begins the struggle for the opening of a national opera house. Through his efforts, in 1862, the Provisional Theater was created in Prague. Operas by Bedřich Smetana were staged on its stage, including the most famous - The Bartered Bride, and in 1881 new theater- National - opens with a staging of his new creation - the opera "Libuse".

No less than in the opera, the composer's talent manifested itself in symphonic music. After the Triumphal Symphony, he no longer wrote in this genre, preferring the poem. The peak of his work in this field was the cycle of poems "My Motherland".

The activities of Bedřich Smetana are diverse: he taught and directed the Prague Verb (choral society), founded the Philharmonic Society, and conducted opera performances. Only illness put a limit to this vigorous activity: in 1874, Smetana, losing his hearing and suffering from a nervous illness, leaves Prague and spends last years life in the village of Yabkenitsa. Despite the progressive disease, he continues to create, creating a quartet "From my life" and other compositions.

Smetana died in 1884. crowd of thousands, a march from Dalibor and other themes from his works sounded. Monuments to Smetana are installed in several cities of the Czech Republic. Annual music Festival Prague Spring opens on May 12, on the anniversary of his death, and on the first day of the festival, the My Homeland cycle is performed.

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Bedrich Smetana

Bedrich Smetana is the first recognized classic of Czech music, the founder of the Czech school of composition, who made a significant contribution to the development of all genres of Czech music classical art– opera, symphony, instrumental and choral music. The work of this composer reflected the progressive aspirations of the Czech people, who were striving to gain national independence.

Bedrich Smetana was born on March 2, 1824 in the small town of Litomysl, in the family of the brewer Frantisek Smetana, who was in the service of a local landowner. Being a patriot of his people, the father tried to instill this feeling in his children. Despite the strictest prohibition of the authorities, Smetana's family spoke mother tongue, the boy was taught Czech literacy. In addition, the young Bedřich was greatly influenced by the stories of his father's friend, the artist Antonin Maček, about the heroic past of the Czech people, their struggle against the oppressors.

Ideological formation young composer friendship in the gymnasium years with Karl Gavlicek, who later became outstanding writer and public figure of the Czech Republic, and the lessons of Vaclav Divok, who sought to instill in his students a love for the Czech national culture. In the mind of Bedrich, the idea of ​​serving his people became more and more strengthened.

Smetana's outstanding musical abilities manifested themselves quite early. The composer's father, a passionate music lover, often played with friends in home concerts, thus the boy with early childhood was familiar with the works of the world's best classics and Czech folklore. At the age of four, Bedrich taught himself to play first the violin and then the piano. His first debut took place in 1830: a six-year-old boy performed in a concert, playing on the piano the overture to the opera The Mute from Portici.

At the age of eight, Smetana wrote his first piece of music. During the years of study at the gymnasium, he created a large number of piano pieces, the themes for which were various impressions of the young composer, usually embodied in cheerful polkas (“Louisina Polka”, “Memories of a New Place”, etc.).

In 1840, Bedřich moved to Pilsen, where he continued his studies. The three years spent in the family of his uncle, Professor Josef Smetana, turned out to be not only educational for the young man (he learned a lot about the Hussite movement and its heroes), the stories of his uncle contributed to the growth of patriotic consciousness.

The Pilsen period of life became for Smetana the time of formation artistic views. Without disregarding such phenomena of virtuoso pianism as Moscheles, Hummel and Thalberg, Bedrich devoted all his strength to the study of the work of Beethoven, Berlioz, Schumann and Chopin, who had a significant impact on the formation of talent young composer.

The first serious works of Bedřich Smetana, especially his piano music, were created under the influence of Schumann and Chopin, later works - under the influence of the democratic spirit of Beethoven's music, and turning to programming is nothing more than following the creative principles of Berlioz.

The closest to Schumann's work in spirit and history of creation is a series of plays written in 1844 and published under the title Bagatelles and Impromptu. At this time, love entered the life of Bedřich in the person of an old friend Kateryna Kolar, who five years later, in 1849, became the wife of a young composer. Even in the titles of Smetana's plays ("Love", "Desire", etc.), something Schumann slips through. The reason for such a passion for the work of an outstanding composer, many call the general emotional state (falling in love); Indeed, in the music of Schumann, Smetana felt experiences close to himself.

No less attractive for the young patriot was the nationally original music of Chopin. Following this brilliant composer, Bedrich tried to find special artistic means reflection of the life of his people. For Chopin, polonaises and mazurkas became such a nationally original form in music, for Smetana - polkas.

Of great importance for the formation of Smetana as a composer and performer was his acquaintance in 1846 and friendship with the famous Hungarian Franz Liszt, deeply national creativity which inspired the young musician to write works about his beloved Czech Republic.

In 1843, after graduating from the Pilsen Gymnasium, Bedrich went to Prague to enter the conservatory. Having successfully passed all the tests, the young man began his studies in the class of a talented music teacher Joseph Proksch. The latter managed to captivate his talented student by collecting and studying Czech folk music which later found expression in his work.

The difficult financial situation forced Smetana to become a music teacher in the family of Count Thun. The young man used the small advantages that his work gave him: for example, traveling with the count's family around the country in the summer months, Bedrich managed to accumulate rich material for further creative activity.

At the same time, he was trying to realize his idea of ​​creating a musical educational institution, in which teaching would be conducted not on the popular at that time German, but in their native Czech. The undertakings of the young talent were supported by F. Liszt: he helped to publish Smetana's Six Characteristic Pieces abroad, the funds from the publication of which were transferred to the fund of the Prague Music School.

Czech researchers often refer to the 1840s as the era of the Czech Renaissance. In those years, the artistic environment of Prague, represented by such leading figures as the historian Frantisek Palacky, the poet Jan Kollar, the historian and philologist Pavel Josef Safarik, was quite fertile for the young talented composer.

In addition, intensive creative activity was facilitated by vivid impressions those years (the Prague uprising of 1848, in which Smetana was directly involved, and the persecution of the rebels). During this period, Bedrich wrote revolutionary songs and marches (Song of Freedom to the verses of Kollar, March of the National Guard, Joyous Overture, etc.).

Neither the brutal political reaction that followed the defeat of the Prague uprising, nor the constant persecution that advanced public figures were subjected to, could shake the democratic convictions of the patriotic composer, who from childhood dreamed of the national independence of the Czech Republic. These sentiments found expression in a series of piano pieces presented mainly in the form folk dances(“Wedding scenes” (1843), “Three poetic polkas”, “Three salon polkas” (both - 1851), and in concert activities (some posters announcing Smetana's concerts were written in Czech).

The tense political situation created certain difficulties for creative activity. In 1856, Smetana was forced to leave for Sweden, where he lived until 1861. Having settled with his family in the city of Gothenburg, Bedrich set to work enthusiastically, but he had to deal not only with writing, but also with performing and teaching activities.

Continuing to maintain friendly relations with Liszt, the young Czech composer repeatedly visited his house in Weimar. Passion for Liszt's work, especially the idea of ​​program symphonism, was reflected in the music of Smetana: during the years of Swedish exile, he wrote three heroic-dramatic symphonic poems: "Richard III" (after Shakespeare's tragedy), "Wallenstein's Camp" (after Schiller) and "Gakon Jarl" (based on the work of the Dane Elenschleger), as well as piano pieces "Memories of the Czech Republic in the form of poles" (1859 - 1860).

Of particular note is the composition Wallenstein's Camp, written at the suggestion of the Czech tragedian Kollar as an introduction to Schiller's drama Wallenstein. Smetana managed to connect the content of the drama with the national liberation struggle in the Czech Republic. In this symphonic poem, not only solemn march tunes are heard, but also the melodies of Czech folk dances. Thus, Wallenstein's Camp is more a picture of the life of the Czech people than a reproduction of Schiller's plot.

By the beginning of the 1860s, tragic changes had taken place in Smetana's personal life: his daughter and wife died in a foreign land, he died in Prague close friend youth Havlicek, who took an active part in the liberation struggle of the Czech people. Feelings of longing and loneliness forced the composer to think more and more about returning to his homeland.

At this time, significant socio-political changes took place in the Czech Republic: the defeat of the government of the hated Austrian governor allowed many prominent representatives of the Czech people, including Smetana, to return to their homeland and begin active work.

Bedrich Smetana tried to cover all areas of Czech musical culture: he acted as a teacher, conductor, pianist, musical and public figure, leading the struggle for the revival and prosperity of Czech national art. At the end of 1861, the composer's long-standing dream came true: the first Czech music school was opened in Prague.

By that time, there were about 200 choir societies in the Czech Republic, and the head of one of them, the Verb of Prague, for several years was the most talented son of the Czech people - Bedrich Smetana. In his choral works(dramatic poem about Jan Hus "Three Horsemen", "Czech Song", which is a kind of patriotic anthem, etc.) reflected the life and aspirations of compatriots.

In 1863, Smetana became the head of the musical section of the new art partnership "Skilled Conversation". Numerous concerts held under the direction and with the direct participation of this talented musician, marked the beginning of a wide concert life in the Czech Republic.

The composer's struggle for the creation of the Czech national theater resulted in a truly nationwide movement. In those years, all Prague theaters were under the yoke of Austrian censorship, performances in the Czech language were banned, but Bedřich managed to break the resistance of the Austrian authorities, and in 1862 the Provisional Theater was opened, on the stage of which the first operas of the composer were staged.

Smetana not only directed the new theatre, but also served as its permanent conductor for eight years. On his initiative, fundraising began for the construction of the National Theater building. It is noteworthy that on the day the building was laid, May 16, 1868, Smetanov’s works “The Solemn Overture” and the choir “Rolnitske” (“Agricultural Song”) sounded, with which the composer wanted to emphasize the people's democratic nature of what was happening.

The 1860s became a period of creative flourishing for Bedřich Smetana. In 1863 the first opera Brandenburgers in Bohemia was written, followed by The Bartered Bride and Dalibor (1867).

"Brandenburgers in the Czech Republic" became the first Czech classical opera historical and heroic content. In the events of the 13th century (during the reign of Rudolf Habsburg, whose descendants oppressed the Czechs until the 19th century), the brilliant composer managed to reflect all the most topical topics of our time. With special expressiveness is revealed in piece of music the theme of the struggle of the Czech people against the despotic power of the Habsburg monarchy.

The love-dramatic line of the opera, which seems to be the main one, is in fact not such, since the composer focuses on mass folk scenes built on the melodic turns of Czech national hymns and folk songs. Courageous, several harsh music informs the whole opera of the heroic sound, which is manifested with particular force in the final scene of the expulsion of the Brandenburgers from Prague: the song of the choir “The day will come after a long night” sounds like a call to fight.

The first production of The Brandenburgers in Prague, which took place in 1866, became a real event in the Czech national art, marking the beginning of the Czech opera classics.

Soon on the stage of the Provisional Theater was staged comic opera"The Bartered Bride", which brought the composer worldwide fame. The plot, borrowed from the life of the Czech village, is based on the story of the marriage of the farm laborer Enik to the girl Mazhenka.

The opera consists of three acts: in the first of them, an acquaintance with the main actors- Yenik, the son of a wealthy peasant Mikha, who left his home from an evil stepmother and became a farm laborer, and Mazhenka, the daughter of ordinary peasants. Young people love each other, but the girl's parents - Gata and Krushina - oppose their marriage. The greedy village matchmaker Ketzal intervenes in the matter, promising to find a rich groom for Mazhenka.

The second act begins with the appearance at the festival of Yenik's half-brother, Vasek, whom the matchmaker reads as the groom Mazhenka. Taking advantage of the fact that the young man does not yet know his bride, the girl tells him about the evil and grumpy Mazhenka and convinces him to refuse such a bride.

At the same time, Quetzal, persuading Yenik to forget Mazhenka, describes all the advantages of marrying a rich girl and promises to find such a Yenik. The young man concludes an agreement with the matchmaker on the sale of the bride, according to which the latter undertakes to pay Yenik 300 ducats in the event of the marriage of Mazhenka and son Mikha. The peasants present in the tavern are watching what is happening with amazement.

At the beginning of the third act, the gullible, somewhat stupid Vashek grieves over his marriage to an evil and quarrelsome woman, but the appearance of a traveling circus troupe cheers him up. An impromptu performance, or rather, a young artist named Esmeralda taking part in it, makes a great impression on the unlucky groom. The girl persuades Vashek to take part in the evening performance, to act as a bear.

The debut as an actor ends in failure: Vashek opens up to his parents, who are in the crowd of spectators, and Mazhenka's parents refuse such a groom. At this time, Yenik appears, who is greeted with joy by Father Micha. Gata and Krushina agree to the marriage of Mazhenka and Yenik. Everyone is happy, only the fooled matchmaker Ketzal has to pay Yenik 300 ducats, according to the agreement.

Separate arias, duets, ensembles, choirs and dances give the opera a bright cheerful tone, continuity and swiftness of action, give it significance. The dynamism of development is determined even in the overture, thematically connected with the opera and preparing listeners for the perception of the action. Compositional feature"The Bartered Bride" is the presence of two dramatic lines that organically complement each other - lyrical and comedic.

Despite the fact that Smetana almost never uses authentic folk songs and dances (the furiant in the second act is an exception), in his simple, sincere, expressive melodies, characteristics Czech musical folklore: intonations and a peculiar modal structure of Czech folk songs, dance rhythms.

To give the work a bright national flavor, the composer used the rhythms of polka, smooth, comically important sousedski (slow waltz) and brisk skochna (Czech gallop), thanks to which well-aimed musical characteristics characters and revealed various dramatic situations. The Bartered Bride is rightfully considered one of the best Czech classical operas.

In May 1868, on the day of laying the foundation of the National Theatre, the premiere of the heroic-tragic opera Dalibor took place - so in the Czech operatic art appeared new genre. The libretto of this work was written to the text of the outstanding Prague playwright and public figure Josef Wenzig, who at that time headed the Association of Progressive Czechs "Skillful Conversation".

Based on the plot folk legend she told about the knight Dalibor about a brave man who was imprisoned in a fortress for sympathy and patronage of the rebellious peasants. The image of Dalibor became the personification of Smetana folk hero whose thoughts and aspirations are inseparable from the fate of the people fighting for their freedom. Dalibor's leitmotif, which is present throughout the play, is reminiscent of heroic folk songs-marches.

Particularly noteworthy is the image of the beloved brave knight, the selfless girl Milada, who sacrificed her life to save her beloved. Trying to give a deeper characterization of the heroine, Smetana uses a leitmotif. Thus, the principle of the leitmotif, along with the vocal beginning, acquires a leading role in the work of a talented composer.

Despite the negative attitude of the authorities, Smetana continued to work actively: on his initiative, a Czech vocal school and the Philharmonic Society, he continued to perform as a pianist, performing in concerts not only own compositions, but also classical works, as well as works by young Czech composers (Dvořák, Tomasek, etc.).

The heyday of Smetana's composing work came in the 1870s. However, working in various musical genres, he still remained faithful to the opera. Back in the late 60s of the 19th century, Bedřich conceived the idea of ​​writing the opera “Libuše”, dedicated to the legendary founder of Prague, the wise and just ruler Libuše, who predicted for her people a long path full of suffering and torment, crowned with victory. As in other heroic works, here the composer tried to bring the content of ancient legends closer to the topical problem of the struggle of the people against the tyrannical power of the oppressors.

Smetana defined the genre of this work as "a solemn picture in three parts". The musical and dramatic action of the opera, which is based on impressive choral scenes, is somewhat static. This is exactly what the composer was striving for, creating not so much an opera as a majestic story about the Czech people and homeland. In the first two parts of the opera - "The Court of Libuše" and "The Wedding of Libuše" - paintings of Czech antiquity appear before the viewer, the third and final part of the opera - "Libuše's Prophecy", accompanied by an epilogue, is the culmination of the whole work.

The fighting Hussite song "Who are you, God's warriors", which received wide symphonic development in the opera, is the most impressive fragment of the work. Continuing until the end of the opera, this song completes the epilogue - a kind of apotheosis of the triumph and immortality of the people.

The opera "Libuse" was ready already in 1872, but since it was written for the opening of the National Theatre, the premiere performance took place only on June 11, 1881 on the stage of the building of the National Opera House rebuilt after the fire.

Immediately after the completion of the opera work, Smetana began work on the cycle of symphonic poems "My Motherland", united by a common idea. After writing Vysehrad and Vltava, the composer composed four more symphonic poems, which were completed by 1879. However, the performance of the entire six-poem cycle took place only in 1881.

The years during which this work was created turned out to be the most difficult for the composer. In 1874, as a result of an unexpectedly developed nervous disease, Smetana lost his hearing, which forced him to leave the theater and conducting activities.

But even these events could not break his creative energy, the composer continued to compose. Along with the cycle "My Motherland", several comedy-domestic operas were written. The last opera, which Smetana conducted himself, was "Two Widows" on a plot from the life of the small estate nobility. The audience enthusiastically greeted the production of this work: as a token of recognition, the composer was presented with a silver conductor's baton and flowers.

Two subsequent operas, The Kiss (1876) and The Secret (1878), were written to a libretto by the Czech writer Eliska Krasnogorska. The plot of the first of them was borrowed from the life of the villagers, the second told about the Czech provincials; naive fantastic plots were interspersed here with juicy genre scenes full of bright folk humor.

At the same time, Bedrich Smetana, who lived far from Prague, was working on chamber work- the quartet "From My Life", in which the ideological and artistic aspirations of the composer found expression. In the lyrically upbeat music of the quartet, filled with bright joy and rebellious spirit, Smetana quite poetically reveals the programmatic content of the work. In expressive melodies, scherzo polkas and finales, the composer embodies the paintings folk life and life, in addition, in the music of the quartet, Bedřich's great love of life, his faith in his people find expression.

In the late 1870s, under the impression of life in the countryside, a small piano work was written, which received the name "Czech Dances". Using genuinely folk song and dance melodies (“Onion”, “Bear”, “Ulan”, etc.), Smetana created a fervent, cheerful and life-affirming work.

In the 80s of the XIX century, despite the growing illness, Smetana continued his creative work, but the works of these years are far from equal: along with such bright musical masterpieces as "Evening Songs", violin duets from "My Motherland", the orchestral polka "Venkovanka ”, unsuccessful ones appeared - the second quartet and the opera “Devil's Wall”, which are characterized by a certain fragmentation of the form and the complexity of the harmonic sound.

The indifference with which the audience greeted the second quartet and the "Devil's Wall" did not frighten Bedrich, he continued to compose music. So, in 1883, the symphonic suite "Prague Carnival" was written, after which the composer began work on the opera "Viola" based on the plot of Shakespeare's comedy "Twelfth Night", but the disease made itself felt.

In November 1883, Smetana visited Prague for the last time, where he attended the opening of the National Theater, restored after a treacherous fire. It was a kind of farewell of the famous composer with music, theater and his beloved city. May 12, 1884 Bedrich Smetana, glorious son Czech people, who left a noticeable mark on their culture, died in a Prague hospital for the nervously ill.

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Bedrich Smetana (Czech Bedřich Smetana) was born in a large family of a brewer Frantisek Smetana, March 2, 1824, at Litomysl. The family moved frequently. The children studied in Jihlava, then in the gymnasium of the city of Nemecki Brod. Music was always loved in the house, and little Bedrich also played the violin and piano.

Bedrich completed his education in Pilsen. He lived in the house of his uncle - professor Joseph Smetana. There the young man got acquainted with the works of great composers and writers, became interested in advanced ideas.

In 1843, Bedřich left for Prague and entered the pianist's school. Josef Proksch. Smetana was fond of the work of Liszt, listened to the concerts of Moscheles and Thalberg. The young man already tried to compose music himself - he wrote piano works. He graduated from the Proksh Music School in 1846.

Since 1848, Smetana became interested in politics. He could not take part in street fighting on the streets of Prague, but reflected them in his work. Impressed by the events, he wrote "The Song of Freedom". In the summer of 1848, the young composer returned to Prague and opened his own music school. A year later, Bedrich married Katerina Kolarzhova. In those years, the young composer created his famous polkas.

The couple had children - four daughters. The eldest daughter, Bedrishka, inherited her father's talent - he predicted a great musical future for her. In the mid-1850s, three daughters of Smetana died - all except the youngest - Sophia. The composer's grief resulted in a number of elegiac works. He dedicated the piano trio in G minor to his beloved Bedřiška.

In the autumn of 1856, the composer, together with his wife and daughter, left for Swedish Gothenburg. There he worked as a conductor. symphony concerts, teacher and musician of the chamber ensemble. In Gothenburg he wrote three symphonic poems; the most significant of them is considered the second - "Camp Wallenstein". In 1859, Smetana suffered a new loss - his wife, Katerzhina, died of tuberculosis. In grief, the composer supported him new friend –Franz Liszt.

In the summer of 1860, Smetana married Bettina Ferdinandova. In this marriage he had two daughters. While abroad, the composer followed political events in the Czech Republic. In 1863 Smetana returned to his homeland. The beginning of his concert activity was not successful, and he reopened a music school.

All this time, Smetana continued to write music. The first successful opera was Brandenburgers in Bohemia. The composer created the foundations of the national Czech opera in the works The Bartered Bride and Dalibor.

Representatives of the reactionary circles did not accept Dalibor, subjecting him to harsh criticism. It was a big disappointment, but Smetana was already working on new opera- "Libuse".

The premiere of "Libuse" took place in 1881. The success was deafening, but the composer himself was almost completely deaf by that time. Deafness has been on the rise since 1874. Smetana retired from people and lived in a forest lodge that belonged to his father-in-law, the huntsman. There he composed several more significant works, but the depression progressed. In 1883, Smetana ended up in a psychiatric clinic in Prague. There he died on May 12, 1884. Bedrich Smetana was buried at the Vysehrad cemetery.

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